Music and Tourism in Scotland Essay

sparing touristry bloomed in the 1990s due to major(ip) pagan changes in society. Scotland began to clear a new identity by the use of media that promoted the social and heathen attributes of the country. Scotlands home-grown artists were use as a voice at the foreland of the promotion of Scotlands culture and heritage to world tourism.My essay result consider a range of issues surrounding the relationship between economical tourism and the development of frugal euphony during the 1990s. It depart consider the artists and songs that play a key role in the development of Scotlands theme identity through outlining particular advertising campaigns used to promote for Scotch tourism. My essay will also discuss the future plans for Scotch tourism and how music will be part of them. sparing Music and Scottish TourismTourism contributes an enormous part of the economy in Scotland bluster a visitor spend of approximately 4b per year. As a tourist destination, Scotland boasts idyllic opportunities for its visitors much(prenominal) as the hillwalking the Munro Mountains, fishing the River Tay, immersing in the level of Edinburgh or Stirling and admiring the cultural diversities of Glasgow. These opportunities are realised and exploited by brass body Creative Scotland, which was set up in 1993 and is dedicated to financial backing the promotion of culture in Scotland on both national and foreign levels. Creative Scotland support the current Scottish presidencys Corporate Plan, which promisesTo focus Government and public services on creating a more successful country, with opportunities for alone of Scotland to flourish, through increasing sustainable economic growth.Scotland has developed an exceedingly loyal worldwide reputation for its diverse culture and is continuing to do so by championing music and the arts through large scale points and fetes such(prenominal) as Celtic Connections, a relatively new feast of conventional Scottish music w hich is exclusively held across a yield of high-profile venues in Glasgow including the flagship Glasgow Royal Concert Hall which was opened as part of the cultural renaissance of Glasgow in 1990 with Glasgow becoming a European City of finishing in 1990.The formation of this festival alone has increased global rice beer from its multiple televised broadcasts on BBC and HD and a promotional tour to Chicago in 2012 during the Ryder Cup at the nearby Merdinah Country Club.Another notable festival is T in the Park which is sponsored by Scottish Brewery Tennents. Established in Glasgow in 1993, the festival will celebrate its 20th anniversary in 2013 and showcases international artists with a focus on new and established Scottish acts such as Scottish Band Travis, who gained international recognition through performing at the festival from 1994 as an unsigned band and subsequently becoming a headlining act of the festival in 2000. The festival move to Perthshire in 1997 and politic ians in the area were united to promote A Soundtrack for Scotlands Tourism, linking traditional music and tourism and diversifying the tourist industry. The festival attracts 85,000 peck from all over Britain and in some cases worldwide, to Fife, Scotland, the festival has become superstar of the most important and critically acclaimed music events on the international festival circuit.The festival has been televised on BBC and footage of the festival includes shots of the backdrop landscape of Kinross and Fife regions.Promoting Scottish nationalism and Tourism with Music in Sports & BrandingBranded produce from Scotland provided the tourism sector with an indirect source of advertising the heritage and culture of Scotland during the 1990s. some advertising campaigns were televised in particular for the alcohol industry, which used iconic songs synced with images of homespun and urban Scottish landscapes which helped create an escapist image of Scotland. An example of this would be Tennents Lager, who used Dougie Macleans song Caledonia against the imagery of a grimy prompt city with arrogant people compared to the contrasting escapist, social, warm and friendly automated teller of a public house in EdinburghThe sense of nationalism and surcharge in the cultural diversity in Scotland went from strength to strength in the early 1990s. Scotland celebrated a period of excellence in swordplay on a global scale which also helped boost the number of visitors to the country. Although Scotlands national football team failed to advance through the class stages of all the World Cup tournaments in the 1990s including Italy, USA and France respectively, Scotlands national Rugby team celebrated international success, beating England 13-7 in the 1990 Five Nations Grand Slam.This event penned The Corries lament Flower of Scotland as the wildcat national anthem of Scotland, boosting the national pride and identity and has been used invariably since at most sporting events. The song was written toKindle a new awareness of what is world lost and what can be regained. Scotlands resistance, not its defeat is stressed here.Another notable use of Scottish music for advertising Scottish Tourism is the 1997 television campaign which used The Silencers version of Wild Mountain Thyme, which is a traditional piece of music popularised by the particular advert which featured iconic scenes of Scotlands rustic landscapes, castles and activities such as travel, surfing and walking. The advert quoted Scottish Poet Norman MacCaig who wrote some ScotlandOnly mens minds could have unmapped into abstraction such a territory.Another song of note which relates to a worldwide auditory sense and captures the picturesque imagery of Scottish landscapes would be Runrigs version of the traditional Scots Lament Loch Lomond, which was voted as Scotlands best song by a reader poll in Scottish publication The hark in 2008, beating Dignity by Deacon Blue, Caledonia by Do ugie MacLean and cholecalciferol Miles by the Proclaimers, all of whom are regarded as Scottish Nationalist artists with Pete Wishart, Keyboardist of Runrig being elected as an SNP MP at Westminster in 2001. Conclusion The afterlife of Scottish Nationalism and TourismScotlands culture and heritage will continue to grow in the tourism spotlight through the consignment of Creative Scotland and its relationship with VisitScotland which is evident from its goalsCreative Scotlands ambition is to cop Scotland as one of the worlds most creative nations by 2020.An example of this commitment is apparent as 2012 is the Year of Creative Scotland which continues the celebrations of Scottish culture and promotes it to the world through festivals such as the Sound fete which will be held over October and November and aims to bring visitors to the North East areas of Scotland to jollify alternative music of Scotland.The profit has increasingly become a major role in the promotion of Scotland s live music events with internet website www.visitscotland.co.uk, acting as the information and marketing gateway for prospective visitors to mother information, link to external websites such as event homepages and furthermore, purchase event tickets directly with great ease.Glasgow will again become City Of purification in 2014 and will host the Commonwealth Games and the Ryder Cup, which will be an rarified opportunity for sports and Scottish music to join forces once again.